This past December, I had the great pleasure of meeting Thomas Crawford and his work at the PhotoNOLA Portfolio Reviews, and then sharing wallspace with him in the Currents 2025 Exhibition at the Ogden Museum. His creative methodology to considering landscape through satellite imagery is fascinating. He is using the human built environment as a starting
My photo landscapes, all derived from satellite imagery, do not idealize conventional beauty found in mountain vistas or pastoral valleys. Instead, they show unexpected beauty in urban settings often dismissed as eyesores.
What we’re reading returns for 2025 by picking up on works that expose the politics of narrative – how history, crisis, and dissent are mediated. From a critique of Max Pinckers’ colonial reenactments that obscure lived realities to a clickbait piece that declares photography’s renaissance given ‘AI becomes harder to detect,’ Thomas King traces docudrama, revisits Mike Davis’ urgent interventions on California’s wildfires, The Ecology of Fear: Los Angeles and the Imagination of Disaster, and explores uncompromising responses to institutional narratives – or their reinforcement – via the furore surrounding Nan Goldin’s recent speech at the Neue Nationalgalerie, Berlin.
What we’re reading returns for 2025 by picking up on works that expose the politics of narrative – how history, crisis, and dissent are mediated. From a critique of Max Pinckers’ colonial reenactments that obscure lived realities to a clickbait piece that declares photography’s renaissance given ‘AI becomes harder to detect’, Thomas King traces docudrama, revisits Mike Davis’ urgent interventions on California’s wildfires, The Ecology of Fear: Los Angeles and the Imagination of Disaster, and explores uncompromising responses to institutional narratives – or their reinforcement – via the furore surrounding Nan Goldin’s recent speech at the Neue Nationalgalerie, Berlin.
In this lyrical collection of poems and photographs, Rebecca Norris Webb charts her journey through the loss of her brother as she follows the migration of birds through the American South and Northern France.
It was so wonderful to return to New Orleans this past December and celebrate all things photographic during PhotoNOLA. Today we share some of the highlights of the events, and discuss the Portfolio Reviews from both sides of the table. I was a reviewer and Lenscratch Editor, Karen Bullock was a reviewee and had a chance
It was so wonderful to return to New Orleans this past December and celebrate all things photographic during PhotoNOLA. Today we share some of the highlights of the events, and discuss the Portfolio Reviews from both sides of the table. I was a reviewer and Lenscratch Editor, Karen Bullock was a reviewee and had a chance to chat with some of the participants about their experience.
A new Sundance documentary, which questions the provenance of a Vietnam War icon, has set off a pitched battle between photojournalists and the filmmakers.
A new Sundance documentary, which questions the provenance of a Vietnam War icon, has set off a pitched battle between photojournalists and the filmmakers.
The girl in the photo Kim Phuc calls the documentary an “outrageous and false attack on Nick Ut” adding she would “never participate in the Gary Knight film because I know it is false.”
We hope you take some time to explore their work. To all these photographers, and our LensCulture community, thank you for being a part of our journey. Cheers to another two decades of visionary discoveries!
For months members of the public have been using GeoSpy, a tool trained on millions of images that can find the location a photo was taken based on soil, architecture, and more. It’s GeoGuesser at scale.
For months members of the public have been using GeoSpy, a tool trained on millions of images that can find the location a photo was taken based on soil, architecture, and more. It’s GeoGuesser at scale.
Now that it’s been a week since Meta’s turnaround—and my first take at Zuckerberg’s speech—I am particularly haunted by one aspect: He seems to have downranked the basic practice of classic journalism, characterizing it as no better than the nonreported observations from podcasters, influencers, and countless random people on his platforms. This was hinted at in his Reel when he repeatedly used the term “legacy media” as a pejorative: a force that, in his view, urges censorship and stifles free expression. All this time I thought the opposite!
His work for Sports Illustrated included the renowned cover photo of the United States men’s hockey team celebrating their upset win at the 1980 Winter Olympics.
His work for Sports Illustrated included the renowned cover photo of the United States men’s hockey team celebrating their upset win at the 1980 Winter Olympics.
Han Youngsoo chronicled the postwar transformation of mid-century Seoul, complicating popular depictions of that era as one solely of deprivation and hardship.
Han Youngsoo chronicled the postwar transformation of mid-century Seoul, complicating popular depictions of that era as one solely of deprivation and hardship.
If you have had a visual currency that has been both believable and useful in making the lives of millions of people better, in helping to bring wars to an end earlier, in promoting civil rights, and in provoking global interventions when there’s disease or famine or earthquakes or other serious issues, rather than saying just that it’s been diminished in terms of its credibility, which it has been, I think the appropriate question is: What can be done to restore trust in it as a witness?
In an era when the discordance of daily life more often than not overshadows fleeting moments of intimacy, Lewis Watts invites us to pause, reflect, and engage with the layers of connection and history embedded in the communities he documents. The exhibition, “Looking Back: The Photography of Lewis Watts” on view at the Center for
Once I accepted that being rejected was a part of the process, I was able to approach people in the street and in other situations with more confidence. I think that people pick up on that. I can also use people’s reactions as a marker of how much I am really into the situation that I am photographing. When folks are not into it, I know that I have to change my own mind set and relax and try again or move on
One thing that people were drawn to over and over were photographs that showed resilience, and they also seem to gravitate toward photos where the people that were injured or had been affected by the war were looking straight at the camera.”
Southern California is suffering another tremendous loss. Artist and Curator Douglas McCulloh sadly passed away on January 5th. He leaves an incredible legacy as a husband, friend, mentor, photographer, curator, and most importantly, troublemaker. Every e-mail from Doug ended with a sentence encouraging me to get into some trouble. I think of Douglas as the
Southern California is suffering another tremendous loss. Artist and Curator Douglas McCulloh sadly passed away on January 5th. He leaves an incredible legacy as a husband, friend, mentor, photographer, curator, and most importantly, troublemaker. Every e-mail from Doug ended with a sentence encouraging me to get into some trouble.
Kluetmeier’s remarkable image was the only one to ever run on Sports Illustrated‘s cover without a caption, and readers voted it the storied magazine’s most iconic cover ever in 2014.
Unlike the time when social media started, I believe this presents an opportunity for photographers today. Creating a new community on a different platform will take time and effort. In fact, it’s not even clear to me that focusing on only one app is the approach to follow: maybe app XXX works better for sharing work, while app YYY might be better for people who want to engage in conversations?